Thanks, Yogesh...appreciate your encouragement!
--- In [email protected], "Yogesh" <yogesh2...@...> wrote:
>
> Very much elaboration:-)..That's why I am telling you AJ to publish a book of
> your collection of thoughts/reviews!
> Be aware of 'copy paste' websites who are involved in stealing reviews!
>
> Regards
> Yogesh
>
>
> --- In [email protected], "AJ" <purevibz@> wrote:
> >
> > A while back, I posted a review of Raavan from a very broad perspective and
> > angle, highlighting what I thought were strengths and weaknesses in the
> > album and trying to put the album within the context of ARR's musical
> > career. I feel I have now heard the songs enough times to generate a more
> > detailed review/analyais of each track, including the Tamil version. I
> > apologize for the length in advance, as this is pretty long.
> >
> > 1) Beera/Veera
> > This character based track oozes with spirit and spunk. I love the
> > African/Tribal sonic theme of this track, hearkening to our primitive and
> > ancient roots as the main character's pride and pomp is showcased here in a
> > very colorful and entertaining manner. Beautiful percussive rhythms
> > sustained in a groove that is extremely infectious and riveting. The tamil
> > version features a brighter and louder ghugru track in the beginning with
> > increased bass volume during the ARR sung "Uh Ee Ee Ee Oh" part. The Tamil
> > version also features a funky bass line that is muted in volume in the
> > Hindi version. Similarly, I noticed a warm pad sound chordal sequence that
> > is higher in volume during the first chorus in the Tamil version, whereas
> > it is almost muted in the Hindi version. The xylophone/vibraphone based
> > music interlude sparks the imagination of a jungle/forrest backdrop full of
> > frolic and freedom in both versions, while the Tamil version has an extra
> > counter melodic upper bass pattern that is not heard in the Hindi version
> > during the same interlude. The animal sounds only add to the fun
> > spiritedness and truly enable one to visualize the cinematic backdrop.
> > Keerthi Sagathia's injection during the Antara only adds sweetness and
> > depth to the "dhana dhan tan" parts. The chord sequences during the choral
> > sections are very pleasing, accentuated by some beautiful, bright guitar
> > strumming, adding a shiny overture to an already sparkling oeuvre. The
> > singing is extremely well executed by Vijay Prakash and company, including
> > Mustafa, who is singing an entirely different style that we have heard
> > before from him. I bet they had a lot of fun recording this number. A bit
> > too short in length this track, but boy does it pack tremendous energy and
> > groove. An amazingly feel good, peppy, energetic, fully exotic, colorful
> > number that will also be popular with children.
> >
> > 2)Behene De/Usure Pogudhey
> > Karthik deserve to win best male playback singer award for both versions in
> > my opinion, and the year is still young. Superb, passionate execution on
> > his part and one can really feel the emotions that Rahman wanted to convey
> > through his smoothly textured voice. This track to me is like a hybrid
> > with Hollywood background score meeting Bollywood Sufi film song.
> > Emotionally high in intrigue, mystery, and longingness with a touch of
> > anger, accentuated by the distorted electric guitars which are never
> > overdone, this track is the album's heavyweight champion based on raagas
> > Bhairavi and Basant Mukhari loosely. The first minute of the track sets
> > the tone with an amazingly haunting prelude full of beautiful string
> > chordal sequences and bright, crystal clear bells with a vibraphone/drum
> > backdrop loop, once again, emphasizing the primal/raw/earthy consistency of
> > this soundtrack. The string interlude is equally impressive with complex,
> > negative emotions being communicated and having an abstract fee akin to a
> > hollywood background score for an epic film. Notice the brooding short,
> > but powerfully noticeable low octave string rhythm that comes in and out
> > from right to left in the stanza following the first music interlude.
> > Towards the end, what a culmination of synth, strings, percussion, electric
> > guitars as the song evolves into a climax. Notice the sprawling synth
> > sequence before the outro that only electrifies an already intensifying and
> > passionate plea, further enhanced by a low, edgy bass synth section and a
> > sinister electric guitar track. The ending choral sequence is in pure epic
> > form with a chord formation that is both haunting and tragic in mood and
> > feel. Yes, the word "tragedy" came to mind when hearing this outro
> > explosion and what an amazing impact it had on my senses and spirit both,
> > totally capturing me in its process. It's goose-pimples all the way for me
> > from the very first note to the very last in this track, which to me, is
> > one of ARR's finest tracks ever. The Tamil version (Usure Pogudhey) I feel
> > expresses the feelings a bit more powerfully than the Hindi version, but
> > overall, both tracks stand equally tall in my esteem. What a punch, what an
> > impact, what a groove, what a monster of a track!
> >
> > 3) Thok De Killi/Kodu Poatta
> > Style and attitude come to mind in this very punchy track that's on a
> > mission. The emotions conveyed speak of some inner conflict while
> > searching for direction, a mission that needs execution. Love the
> > loopy/punchy distorted electric guitars in this one throughout this highly
> > percussive dominated number. Yes, it's the multi-layered percussion that
> > stands high and tall in this number with amazing sonic quality and
> > crispness that is once again highly energizing and groove oriented. Notice
> > the "tong tong" sound effects that bounce left and right between speakers
> > every now and then amidst a host of other beautifully crafted, earthy,
> > ornate sounds and stereo and echo effects during the main stanzas. Also
> > notice the short flute octave interjection by Naveen at times, only adding
> > to the haunting, once again, mysterious/intrigue feel. The first musical
> > interlude is amazing in its tonal shift, using major chords for a change
> > along with a Kerwa Taal rhythm change and utilizing a Shehenai melody that
> > is very pleasing and folksy. Love the string synchronization in unison
> > with the main melody during both the Antaras once again, like its
> > predecessor, based on raagas Bhairavi and Basant Mukhari, two of my
> > favorite raagas. The pomp/folksy brass announcement during the second
> > interlude followed by a Middle Eastern tinged string rhythm section along
> > the lines of "Spirit of Rangeela" are just beautifully executed, followed
> > by a no less impressive haunting, but short duduk based interlude, once
> > again, haunting and mysterious. The outro has this beautiful shift to
> > double the time signature allowing for a frenzied finish to a very intense,
> > trancy, passionate, stylish, punchy, edgy, folksy, mission oriented track
> > that is equally impressive in both versions. As pointed out in another
> > post, the Tamil version of this song is 24 seconds shorter due to one
> > stanza being omitted.
> >
> > 4) Ranjha Ranjha/Kattu Sirukk
> > Old world charm melody enters the foray in this very catchy and once again,
> > folksy number with a sonically modern feel. The things that stands out
> > most for me in this track are the beautifully layered soundscape textures
> > and chordal sequences utilizing various string mods and synth based pads.
> > Each chordal sequence is so fluidly executed to squeeze out every drop of
> > emotion intended for this song, with a beautifully sampled, carefully
> > inserted stereophonic loop of Rekha Bharadwaj's voice in mildly distorted
> > form only adding to the tonal and sonic architecture. Driven by a pretty
> > neat techno synth rhythm section along with drops and punches of various
> > sound effects, this track is very haunting and very concentrated
> > emotionally. Notice the bass line that sets in comfortably just prior to
> > the first music interlude adding another layer of depth and nicely rounding
> > the high treble/high range emphasis of this highly textured track. The use
> > of Shehenai and Santoor are craftily used during both interludes with
> > Anuradha Sriram's voice being displayed like another sonically textured
> > instrumental track during the second interlude. The first interlude
> > sounded a bit discordant at first, but I'm not used to it as ARR has used a
> > very unusual harmonic sequence there. Also, notice the rhythmic/strumming
> > acoustic guitars in the second interlude as well, adding style to
> > substance. Both versions are equally impressive musically, although I
> > preferred Rekha's singing to Anuradha's, though I didn't mind Anuradha's
> > rendition as much as some have expressed. I though Anuradha sang in a very
> > distinct Carnatic style that is regionally suited. Both Shakar Mahadeven
> > and Javed ali are impressive in their singing with Shankar taking more
> > liberties to add gamaks and other semi classical variations to the main
> > melody. The contrast between the high pitch female voices and string/pad
> > sections and the low pitched bass and male voices creates a well rounded
> > aural experience. If Karthik deserved the award for best male playback
> > earlier on, then it's Rekha who deserves to win, once again, best female
> > playback for Ranjha.
> >
> > 5) Khili Re/Kalvare
> > These type of songs from ARR totally melt me........totally make me weak in
> > the knees and only make me bow further down to the musical Maestro. Old
> > world melody, soothing, sweet, delicate.... Both versions showcase one of
> > the most beautiful melodies I have heard in an Indian film album in a long
> > time. The melodic contours are extremely fluid and lilting, nothing
> > jarring, nothing at all out of place. The smoothness of the melody
> > progresses so beautifully throughout the song, like going down a slow and
> > serene winding river amidst a beautiful landscape. AR starts out the song
> > with this beautiful, earthy, delicate rhythmic loop filled with sprinkles
> > of high hat drum sounds, ghungrus, and an oud sounding base sequence.
> > Naveen compliments the melody so beautifully throughout the track with his
> > flute insertions that only add sweetness and depth to the song. The only
> > musical interlude features a mindblowing Kathak based semi classical
> > rhythmic section accentuated by an old world based choral arrangement that
> > is simply charming and reminds me of the music of Naushad...classy and
> > evergreen. Oh, and who can forget the beautifully inserted Erhu piece
> > towards the end that adds such a distinct harmonic effect to the existing
> > melodic line? What a classy touch to add this Chinese based instrument,
> > which is an aural delight if noticed. Rahman's use of various raagas to
> > capture the feelings is just outstanding and I love it when he inserts some
> > Komal swaras, a couple of times during the antara, and twice near the end
> > to only add depth and mild variety to the melody sequence. This song
> > should have had another antara, but alas, we must not complain too much and
> > just be happy with what we're given. Rahman, only you have the touch to
> > compose a song as delicately as this one and with an old world charm melody
> > that in my mind, would make Naushad proud. You are truly the old world
> > melodic torch bearer. Both versions are equally impressive to me and
> > Shreya and Reena sang extremely well, though Shreya may have communicated a
> > bit more emotionally with higher tonal weight.
> >
> > 6) Kata Kata/Keda Kari
> > What a way to finish this album with a flourish of folk and rusticity
> > highlighting a marriage celebration with of course the teasing and taunting
> > of the groom! Beautifully crafted and unconventional in structure, this
> > track in both versions are uniquely appealing to their respective regions
> > and it's amazing how AR modified both tracks to suit the local tastes.
> > While Kata boasts of a Rajasthani folk based main melody along with
> > Shehenai during the interludes and backdrops, Keda Kari uses a unique
> > Carnatic style of choral singing along with the complimentary Nadaswaram
> > instrument. Earthy, raw, jubilant, colorful, energetic, and full of
> > frolic, both versions are such unique compositions and only someone as
> > versatile and open minded as ARR could compose a track with 2 versions that
> > uniquely suit local folk cultures. I found Kata to be a bit more melodic
> > in flavor, while Keda Kari had more energy and fun spiritedness, in
> > relative comparison. All singers in both versions deserve applause. I love
> > how the songs just build up gradually, adding layers and layers of
> > percussion culminated by a beautifully infectious and captivating rhythmic
> > Oud performance. The outro with the jubilation, celebration, folic and
> > frenzy sounds with increased tempo and intensity is only icing on an
> > already rich, colorfully rustic track.
> >
> > So, there is my quite long review and I appreciate you having read it.
> > Raavan is a short, but sweet masterpiece that displays music we don't
> > normally hear in bollywood these days, which comes as a refesher and
> > stimulates my love for all things earthy and folksy. We can't expect to
> > hear a bunch of lovey-dovey smooth, feel good, easly listening numbers for
> > a movie like Raavan and remember, ARR is not doing private albums....it's
> > music for films and the music has to match the film's mood/theme/plot.
> > Rustic India is the true India in my mind and this album, both versions,
> > capture that essence beautifully. Yet, the sound is very international in
> > scope and range, bringing unusual fusion combinations that may not be
> > universally appealing...which is fine by me. Not every ARR album has to
> > satisfy everyone and I'm so glad ARR experiments like this........further
> > pushing the envelope and broadening his musical resume. In the process, he
> > is encouraging us to be open minded about music in general, to try and
> > appreciate music of different cultures and regions and to help expand the
> > definition of acceptable and likeable music in India. Remember, Rahman once
> > said, "I don't give music that people want, but what they need." Yes, this
> > will be met with resistance, as we can see from the comments on the net.
> > But, it behooves us to look at this album from a larger perspective of
> > Rahman's career, that despite its unconventional and edgy nature, which is
> > required for a film of this style and mode, Rahman's music still continues
> > to amaze, surprise, impress, and expand. It's the music like we hear in
> > Raavan that has enabled ARR to achieve Oscars and Grammies, for if he stuck
> > with a tried and tested formula over the years that was safe and 90s
> > sounding, his legacy would have been diminished and he would not be
> > internationally recognized as he is today.
> >
>
